In addition to an innovative series of portraits (see The Met 14.40.645), Antonello has left a no less inventive series of bust-length images of Christ as the Man of Sorrows
B[attista]. Cavalcaselle.
baron Arthur de Schickler, Martinvast, France (by 1908–d. 1919); his daughter, comtesse Hubert de Pourtalès, Martinvast (1919; sold to Duveen); [Duveen, Paris, and Wildenstein, Paris, 1919, as by Alvise Vivarini; sold to Salomon]; William Salomon, New York (d
Arts 5 (May 1924), p. 264, ill. p. 263, as in the collection of Andrew W.
B. Faure). Paris. Exposition Internationale Universelle.
For over a century scholars have considered whether or not this sympathetic portrait of an old man is a self-portrait by El Greco. Lafond (1906) described the seemingly Romantic notion as at best a plausible hypothesis, and a number of more recent scholars (for example, Wethey 1962) have rejected the idea, mainly on the basis of comparisons with presumed self-portraits inserted by El Greco into several of his major religious pictures (see also Christiansen 2003)
Manuel B. CossÃo. El Greco.
This is an early work by Alessandro Bonvicino, known as Moretto da Brescia, who, along with Girolamo Romanino, was the dominant painter in the city of Brescia (then in the westernmost area of Venice’s mainland empire) in the first half of the sixteenth century
Brescia, 1898, p. 108 [see Ref. Begni Redona 1988]. P[ietro]. d[a] P[onte].
Berlin: Dietrich Reimer Verlag, 1928. p. 40. Lamm, Carl Johan.
B 5095), and the Antikenmuseum, Kassel, Germany (inv.
Between 1878 and 1895, acquired by Julien Gréau; before 1903, acquired by John Pierpont Morgan (as part of the Gréau glass collection); until 1913, collection of John Pierpont Morgan, New York; 1913-1917, estate of J
× 1 5/16 in. (6.1 × 5 × 3.4 cm) Height (.a): 2 1/2 in. (6.3 cm) Height (.b): 15
Rorimer, James J., and Margaret B. Freeman.
B[ryson]. B[urroughs]. "Principal Accessions."
